The aim of this thesis is to show how to design and implement an application for network traces analysis using Apache Spark distributed system. Implementation can be divided into three parts - loading data from a distributed HDFS storage, supported network protocols analysis and distributed data processing. As a data visualization tool is used web-based notebook Apache Zeppelin. The resulting application is able to analyze individual packets as well as the entire flows. It supports JSON and pcap as input data formats. The goal of the application is to allow Big Data processing. The greatest impact on its performance has the input data format and allocation of the available cores.

[pt] Nesta tese definimos o que vem a ser Memória Gráfica Brasileira a partir de entrevistas com pesquisadores do campo. E apresentamos abordagens e formas de atuar neste campo emergente por meio da identificação, registro e análise do rastro gráfico e oral de um evento memorável: a passagem do dirigível Graf Zeppelin pelo Brasil. Este rastro se constitui de manifestações gráficas recolhidas em acervos do país e também de relatos partilhados ao longo deste estudo que revelam o impacto desse evento na memória coletiva. O primeiro capítulo aborda o levantamento realizado com objetivo de verificar a existência e o âmbito do campo da Memória Gráfica Brasileira através de quatro vetores de investigação: termos e conceitos que o definem, teóricos, métodos e objetos de estudo. O segundo capítulo contextualiza o leitor no evento que é o fio condutor da tese: a passagem do dirigível Graf Zeppelin pelo Brasil nos anos 1930. O quarto capítulo apresenta o rastro gráfico deixado pelo Zeppelin na Imprensa Brasileira, categorizado em manifestações documentais e simbólicas. O quinto e último capítulo apresenta o rastro oral da passagem do dirigível pelo Brasil através de relatos colhidos no percurso desta tese. / [en] In this thesis we define what Brazilian Graphic Memory is through interviews with researchers in the field. We also present approaches and means of acting in this emerging field by identifying, recording and analyzing the graphic and oral trace of a memorable event: the passage of the Graf Zeppelin airship in Brazil. This trace is composed of graphic materials gathered from national archives and also from stories shared throughout this study, which reveal the impact of that event in the collective memory. The first chapter addresses the survey conducted in order to verify the existence and scope of the field of Brazilian Graphic Memory via four research vectors: terms and concepts that define it, theorists, methods and objects of study. The second chapter puts the reader into the context of the event which is the underlying theme of this thesis: the passage of the Graf Zeppelin airship in Brazil in the 1930s. The fourth chapter presents the graphic trace left by the Zeppelin in the Brazilian Press, categorized into documental and symbolic manifestations. The fifth and final chapter presents the oral trace of the passage of the airship in Brazil from accounts collected in the course of this thesis.

Zugl.: Marburg, Univ., Diss., 2007

This master's thesis deals with Big data processing in distributed system Apache Spark using tools, which allow remotely entry and execution of Spark tasks through web inter- face. Author describes the environment of Spark in the first part, in the next he focuses on the Apache Livy project, which offers REST API to run Spark tasks. Contemporary solutions that allow interactive data analysis are presented. Author further describes his own application design for interactive entry and launch of Spark tasks using graph repre- sentation of them. Author further describes the web part of the application as well as the server part of the application. In next section author presents the implementation of both parts and, last but not least, the demonstration of the result achieved on a typical task. The created application provides an intuitive interface for comfortable working with the Apache Spark environment, creating custom components, and also a number of other options that are standard in today's web applications.

Angesichts der zunehmenden Häufigkeit von Rechtsstreiten über musikalische Urheberrechtverletzungen, bei denen es um Millionenbeträge geht, scheinen Musiktheoretiker*innen gute Voraussetzungen mitzubringen, ihre esoterische Ausbildung für einen ausgesprochen praktischen Zweck einsetzen zu können, nämlich in Form sachlicher Expertise innerhalb einer “forensischen Musikforschung”, die “grundlegende Ähnlichkeiten” (substantial similarities, so der juristische Terminus) zwischen musikalischen Werken einschätzt. Dieser Artikel befasst sich mit einem kürzlichen derartigen Fall, “Skidmore v. Zeppelin et al.”, der aus dem Vorwurf entstand, dass der Beginn von Led Zeppelins Stairway to Heaven (1971) auf jenem von Taurus (1968) der Band Spirit beruhe. Die “grundlegende Ähnlichkeit” hierbei umfasst die absteigende Harmoniefolge der eröffnenden akustischen Gitarre, ein Ausschnitt aus einer Lamentobassfigur von der Tonika A fallend bis zum F (die Dominante E erscheint in einer oberen Stimme), eine Variante des Drooping-Modells im Rock. Nach einer Diskussion relevanter Details des Rechtsstreits, stelle ich kurz einen Abschnitt aus der Geschichte der Drooping-Figur im Rock vor, als Querschnitt berühmter Aufnahmen in den Jahren unmittelbar vor Led Zeppelins Platte. Mein Ziel ist es dabei nicht, den Rechtsstreit “Skidmore v. Zeppelin et al.” zu lösen, sondern vielmehr die entscheidenden Aspekte dieses Falls zu erhellen und die Rolle, die Musikologen in ihrer Bestimmung eingenommen haben. Abschließend argumentiere ich dafür, dass Musiktheoretiker_innen verstärkte Anstrengungen unternehmen sollten, um sich im Bereich der forensischen Musikforschung einzubringen, zum Wohle nicht nur der Gerichtsverfahren, sondern auch der Musiktheorie selbst, einer akademischen Disziplin, die in historischer Sicht selbst von ihren engsten Geschwisterfächern isoliert war, von der allgemeinen Öffentlichkeit gar nicht zu reden. / In light of the growing prevalence of multimillion-dollar musical copyright infringement litigation, music theorists seem positioned to use their esoteric training for a decidedly practical purpose: as an informed presence within “forensic musicology,” the practice of evaluating “substantial similarities” (the legal term) between musical works. This article examines a recent example of such litigation, “Skidmore v. Zeppelin et al.”, involving the accusation that the opening of Led Zeppelin’s Stairway to Heaven (1971) is based on Taurus (1968) by the band Spirit. The “substantial similarity” in question involves the opening acoustic-guitar descents, a partial lamento bass figure sinking from tonic A down to F (the dominant E appearing in an upper voice), a version of rock’s “drooping” schema. After discussing relevant details of the case, I briefly outline some of the history of rock’s drooping figure across multiple prominent recordings in the years immediately before Led Zeppelin’s record. My aim is not to solve the issues of “Skidmore v. Zeppelin et al.” but rather to shed light on what the issues in fact are in this particular case, and what role music scholars have played in their determination. In the end, I advocate that music theorists make a concerted effort to involve themselves in forensic musicology, to the benefit not only of the lawsuits but also of the profession of music theory itself, an academic discipline historically isolated from even its closest musicological siblings, let alone the general public.

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